International Art - Josef Lebovic Gallery · 2017. 2. 6. · [Cut-throatRazorSellers], c1790s....

Collectors’ List No. 184, 2016

Josef Lebovic Gallery103a Anzac Parade (cnr Duke St)

Kensington (Sydney) NSWP: (02) 9663 4848

E: [email protected]: joseflebovicgallery.com

International Art

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1. Albrecht Dürer (German, 1471-1528). The Glorification Of The Virgin, c1502/late 16th century impression. Woodcut, mono grammed in block lower centre, 29.6 x 21cm. Oldhorizontalfold,minorstains.Strongunbrokenborder. $4,900From Dürer’s series TheLifeoftheVirgin. Ref: Knappe #245; Kurth #191. Held in The Met, NY.

3. Marcantonio Raimondi (Italian, c1480-c1534). After Albrecht Dürer (German, 1471-1528). ChristAmongTheDoctorsInTheTemple, c1503/17th century impression. Engraving, replica of Durer’s monogram, and numbered “15” in plate lower centre, 29.5 x 21cm. Minor foxingandcreasesoverall,pinholes, tearsandperforationstomargins. $3,900From Dürer’s series TheLifeoftheVirgin.Held in de Young Museum, San Francisco.Albrecht Dürer was reported to have been enraged by Marcantonio Raimondi’s “copying” his compositions and misleading use of his monogram. Dürer won a court case in Venice against Raimondi, which only prevented him from using Dürer’s name and monogram. Prior to the court case Raimondi was said to have sold his copies of Dürer’s series Lifeof theVirgin as original work by the master. Ref: Witcombe, CopyrightintheRenaissance…,Boston, 2004.

Next list:

Australian and International PhotographyFrom 19th to 21st Centuries

The catalogue will feature a rare collection of work by and relating to Carol Jerrems. Some of her photography will be on show for the first time since the 1970s.

Carol Jerrems. [Judy Morris], 1979. Vintage silver gelatin pho-tograph. From the film set In Search of Anna.

2. Albrecht Dürer (German, 1471-1528). ChristAmong The Doctors, c1503/18th century impression. Wood cut, monogrammed in block lower centre, 29.9 x 20.7cm. Stains to imageupper rightand lowerportion,minorfoxingoverall,trimmedtoborder. $5,500From Dürer’s series TheLifeoftheVirgin. Ref: Knappe #241; Kurth #189. Held in Art Institute, Chicago.

JOSEF LEBOVIC GALLERYEstablished 1977

Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA)

Address: 103a Anzac Parade, Kensington (Sydney), NSWPostal: PO Box 93, Kensington NSW 2033, Australia

Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094Email: [email protected] • Website: joseflebovicgallery.comOpen: Monday to Saturday from 1 to 6pm by chance or by appointment

COLLECTORS’ LIST No. 184, 2016

International ArtOn exhibition from Sat., 17 September to Sat., 29 October. All items will be illustrated on our website from 1 October.Prices are in Australian dollars, including GST. Exch. rates at

the time of printing: AUD $1.00 = USD $0.76¢; UK£0.57p© Licence by VISCOPY AUSTRALIA 2016 LRN 5523

Compiled by Josef & Jeanne Lebovic, Dimity Kasz, Takeaki Totsuka, Lenka Miklos

NB: Artists’ birth and death dates in this list are based on currently availablereferences and information from institutions, which can vary.

Cover: Diego Rivera. Frida Kahlo, 1930. Lithograph, signed and dated, #174, p32.

16th to 19th Centuries

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4. Albrecht Dürer (German, 1471-1528). The Birth Of The Virgin, c1503/18th century impression. Woodcut, mono grammed in plate lower centre, 29.4 x 20.9cm. Missing portion to upper left edge, minorstains,tippedtooldbacking. $4,900From Dürer’s series TheLifeoftheVirgin. Ref: Knappe #230. Held in The Met, NY.

7. Albrecht Dürer (German, 1471-1528). SaintVeronicaBetweenSaintsPeterAndPaul, 1510/c1612. Woodcut, dated and monogrammed in block upper and lower centre, numbered “XXII” and annotated in Latin in ink in an unknown hand in upper and lower margins, letterpress text in Latin verso, 12.8 x 9.7cm. Minorfoxingandcreasestomargins,tippedtobacking. $3,900From Dürer’s series The Small Passion. Published by Daniel Bissuccio, Venice. Ref: British Museum; Kurth #244, with alternate title TheSudariumofSaintVeronica. Held in The Met, NY.The margins of this print are unusually generous, measuring approx imately 1.3cm to 2.7cm.

5. Albrecht Dürer (German, 1471-1528). SaintsStephen, Sixtus And Lawrence, c1505/17th century impression. Woodcut, monogrammed in block lower centre, 21 x 14.1cm. Slightfoxing.Astrongimpression,withonlytwominorbreaksintheborder. $3,900Ref: Knappe #224; Bartsch #108. Held in The Met, NY; and NGV, with the inclusion of “Modest Woodcut 8.” The term “modest” was used by Dürer to attract a “lay audience” unable to afford the price of his more elaborate woodcuts such as those from TheLifeoftheVirgin series.

8. Lucas Cranach the Elder (German, c1472-1553). Hans Sachs Alter 51 Jar [51 Years Old], 1545/c1600. Wood cut, dated and titled in block lower left to right, 31.6 x 28.1cm. Repairsandslightstainstoimage,minorteartoleft edge.Good impressionwith complete borders, withonlyminorbreaks. $2,900Ref: British Museum. Hans Sachs (1494-1576) was a German meistersinger, poet, playwright and shoemaker. Sachs became the subject of Richard Wagner’s opera DieMeistersingervonNürnberg(TheMastersingersofNuremberg), first performed in 1868. Ref: Wiki.

6. Marcantonio Raimondi (Italian, c1480- c1534). After Albrecht Dürer (German, 1471-1528). The Presentation Of Jesus To Simeon InTheTemple, c1506. Engraving, replica of Durer’s mono gram, and number “II” in plate lower left and centre, 29.3 x 21.1cm. Pinholes,minortears,creasesandstainstomargins. $3,900Second state of two. From Dürer’s series TheLifeoftheVirgin.Held in V&A.Albrecht Dürer was reported to have been enraged by Marcantonio Raimondi’s “copying” his compositions and misleading use of his monogram. Dürer won a court case in Venice against Raimondi, which only prevented him from using Dürer’s name and monogram. Prior to the court case Raimondi was said to have sold his copies of Dürer’s series LifeoftheVirgin as original work by the master. Ref: Witcombe, CopyrightintheRenaissance…,Boston, 2004.

9. Jacques Callot (French, c1592-1635). Varie Figure Gobbi Di Jacopo Callot, c1616/ 1621-1625. Set of 20 etchings including frontis-piece, mounted together, titled and dated “1616” in frontispiece, each image numbered in plate lower right, 7 x 9cm (approx. each). Alltrimmedtoplatemarks,somewithminortears,stainsorrepairedcorners. The set $2,900Text in frontispiece continues “fatto in Firenza l’anno 1616. I. silvestra ex. Cum priuil Regis. Excudit Nanceij.”

2nd state, missing plate number 1. Originally a set of twenty-one plates (a title and twenty representations of dwarfs). Although the title is dated 1616 on plate, most modern scholars think the compositions were designed in Florence, but engraved and published in Nancy, France at a later date. The engravings depict a troupe of grotesque dwarf entertainers known as LesGobbi. They performed in Italy for the Medici Court when Callot was working there recording court entertainment. Dwarfs would have been regarded as amusing, and a troupe dancing and singing would have been a great novelty in the 17th century. Ref: V&A; British Museum; Lieure #279, #407-426.

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10. Rembrandt (Dutch, 1606-1669). AdamAndEve, 1638/c1796. Etching, signed “Rembrandt f.” and dated in plate lower centre, 17 x 13.1cm. Trimmedplatemarks. $4,900This impression is by Pierre Francois Basan (1723-1797) from the original plate. Ref: Rijksmuseum; White & Boon #B28.

13. After Jean Michel Moreau the Younger (French, 1741-1814).ReceptionDeL’AuteurChezHassanTchaousch-Oglou, 1782. Engraving, text including “pl. 75”, artist and title in plate above and below image, 25.7 x 36.9cm. Crease to centre of image,minor tears,missingportions,stainsandcreasestomargins. $990Text in French reads “Dessiné par J.M. Moreau le Jeune d’apres les croquis de l’auteur. Gravé par A.J. Duclos. APDR.”

Depicts Choiseul-Gouffier’s audience with Has san Tchaousch-Oglou, an Ottoman official responsible for areas around the Troad. Choiseul-Gouffier asked for his sup port in obtaining antiquities. Ref: Thomasson, TheLifeofJ.D.Akerblad, 2013. Held in Aristotle University of Thessaloniki (Greece).

11. Rembrandt (Dutch, 1606-1669). Three OrientalFigures, 1641/1868. Etching, signed and dated in plate upper right, 14.4 x 11.3cm. Minorfoxingtomargins,oldmountburn. $4,400Published in Hamerton’s book in 1868 from the original plate. Ref: Bartsch #118, 2nd state; Hind #183, listed as JacobandLaban.A crisp, clean impression with wide margins.

14. AfterHenry Fuseli (Brit., 1741-1825), engraved by Peltro Williams Tomkins (Brit., 1760-1840). PrinceArthur’s Vision, 1788. Stipple engraving, artist and title in plate below image, 48.9 x 35.9cm. Trimmedplatemarks,slightstainsandpaperlosstoupperandlowercentre,andminortearstorightedgeofimage,discolourationandslightcocklingbelowimage. $1,650Text reads “H. Fuseli pinx. P.W. Tomkins Sculpt., late pupil of F. Bartolozzi. / No. 1 of the British poets. Vide Spencers [sic] Fairy Queen.” Image depicts “Prince Arthur, from Edmund Spenser’s The Faerie Queen. The sleeping prince is visited by a vision of Gloriana, a poetic evocation of Elizabeth I, whom the artist imagines dressed in fashionable late-18th century garb and attended by spirits.” Ref: The Met, NY; AGNSW.

12. AfterThomas Spencer (British, 1700-1763/67). ThePortraitureOfCrab[Arabian] Late The Property Of TheRightHon.TheEarlOfPortmore, 1755. Hand-coloured mezzotint, artist, title, text and date in plate below image, 31 x 35.3cm. Minor scratch in image lowerleft, cracks and slight stains to lowerplatemarkandmargin. $1,850Text includes “Spencer del. These sets of prints are sold by the proprietor Tho’s Spencer & Rob’t Clee in Panton St near Leicesterfields. Houston fecit. Upon the 29th of May 1729 in running for the 80 Guinea Purse at Stamford after winning thee first

heat with ease, he was violently lam’d in the Second Heat & has never run after but kept as a Stallion to his Death. Publish’d 10 March 1755 as the Act directs.” Held in British Museum.

15. Anon. [Cut-throat Razor Sellers], c1790s. Etching, 26.7 x 21.1cm. Trimmed platemark,discolouration,slighttearsandmissingportionstoleftedge. $880Straight or “cut-throat” razors, consisting of a blade that can fold into a handle, were first listed by Sheffield in England in 1680. By 1740 they were made with cast steel and decorative handles.

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16. Francisco de Goya (Spanish, 1746-1828). Que Valor! (What Courage!), c1814/1863. Etching with aquatint, plate number “7” and titled in plate above and below

image, 15.3 x 20.5cm. Slight foxingoverall,minorcockling,oldmountburn. $1,950Held in National Galleries, Scotland, with the comment “This print is notable among Goya’s Disasters ofWar etchings as being one of the few to depict a well-known event. It shows the heroism of a woman named Augustina Zaragoza (also known as Agustina de Aragon) during the 1807 Napoleonic siege of Saragossa. She is shown standing on the bodies of fallen Spanish artillerymen as she fires a canon at the French army.”

19. Anon. Hall-Oberosterr[BadHall,UpperAustria], c1830s-1850s. Graphite with coloured pencil and white highlight, signed “S. Gurnen [?]” with illegible annotation lower right and titled in pencil verso, 16.4 x 21.5cm (paper). Minordiscolouration,tearstoupperrightedge. $1,100

17. Attrib.David Roberts (Brit., 1796-1864). ParkOfNice;ViewOfNiceFromTheMouthOf The River Paglion [sic]; and [ViewOf Beachfront In Nice, France], 1816. Double-sided watercolour with ink and pencil, one image in panorama format with two images verso titled, dated “March 1st” or “March 17th, 1816” with obscured signature “D. Rob…” in ink lower right, 18.7 x 16.9cm (panorama). Oldverticalfold,missingportionstocornersandfold,pinholes,slightfoxingandstains. $2,900From a sketchbook. The River Paillon, also known as the Paglione, runs through Nice into the Mediterranean Sea. Ref: Wiki.

20. Samuel Dukinfield Swarbreck (Brit., 1798-1866). TheRegent’sBridge,Waterloo Place, Edinburgh, 1837. Tinted lithograph with hand-colouring, signed, dated “Oct. 1837” and titled in image lower left to right, 29.9 x 42cm. Minor foxing toupperand leftedgeofimage,oldmountburn. $880

18. William Blake (British, 1757-1827). SatanSmitingJobWithSoreBoils, 1825/1874. Engraving, plate number “6”, captioned and signed with publisher’s line and date in plate above and below image, 21.6 x 17.1cm. Minorfoxingtolowerportionofimageandstainstomargins. $7,700Text reads “Naked came I out of my mother’s womb & naked shall I return thither. The Lord gave & the Lord hath taken away. Blessed be the name of the Lord. And smote Job with sore Boils from the sole of his foot to the crown of his head.” Publishing line reads “London, as Act directs published March 8, 1825 by William Blake, No. 3, Fountain Court, Strand.”From Illustrationsto‘TheBookofJob’(OldTestament). Blake saw Job’s trials and eventual spiritual rebirth as parallels to the creative struggles of the artist. Held in Tate Gallery.

21. AfterFrancis William Edmonds (Amer., 1806-1863), engraved by Alfred Jones (Amer., 1819-1900). Sparking, 1839/1845. Engraving, artist and date “1839” in image lower right, engraver, title and date in plate below image, 32.8 x 42.8cm (image). Trimmed

platemark, repaired tears and creases toimageupperright,creases,slighttearsandmissingportions tomargins.Laiddownonacid-freebacking. $1,350Text reads “Engraved by Alfred Jones. From a painting by F.W. Edmonds in the possession of F.J. Betts Esq. Published by the American Art Union exclusively for the members, 1844. Entered according to Act of Congress in the year 1845 by American Art Union in the Clerk’s Office of the U.S. District Court for the Southern District of New York. Printed by Burton.” Held in Library of Congress.

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22. Anon. [ViewOfNaplesWithMount Vesuvius], c1850s. Water-colour and pencil, annotated “Lady Selina Hinde” in pencil verso, 25.4 x 42.1cm. Foxingtocentreandupperportion, discolouration and old gluestainstoedges. $1,250

25. Edouard Manet (French, 1832-1883). Portrait Of Edgar Allan Poe, 1860/1890. Etching, 19.2 x 15.1cm. Slightcockling,minorfoxingoverall. $2,900This is one of Manet’s first etchings. It is based on a daguerreotype taken in 1848 by Nadar, a well-known French photographer. The etching was initially intended for an edition of Baudelaire’s articles on Edgar Allan Poe. Ref: Harris #2. Held in The Met, NY.

23. James McNeill Whistler (Amer./Brit.,1834-1903). SketchesOnTheCoastSurveyPlate, 1854-1855. Etching, initialled in plate upper centre, 14.5 x 26cm. Minorfoxingoverall,slighttears,perfora-tions and stains to margins, oldmountburn. $3,900Held in The Met, NY, with the comment “Whistler made his first etching while

employed as a draftsman at the U.S. Coast and Geodetic Survey in Washington, D.C., between 1854 and 1855. A staff member taught him the technique and supplied him with a copper plate, on which he etched topographic renderings of coastlines, then sketched freely drawn figures, and an oval vignette representing ‘Mrs. Partington and Ike’—characters from a Mark Twain story. The hooded hidalgo, or minor Spanish nobleman, at upper right is likely a self-portrait that hints at the artist’s bubbling ambition. Within a few months, he would be in Paris, pursing an artistic career.”

26. Attrib.Myles Birket Foster (Brit., 1825-1899). At The Spring, c1860s. Watercolour with gouache, monogrammed in image lower left, titled in pencil below image, 18 x 12.9cm. Minorfoxingtocentreofimage,gluestainstoedgesnotaffectingimage. $2,900

24. Utagawa Hirokage (Japanese, fl. 1855-1865). AomonoSakanaGunzeiDaikassenNoZu(TheGreatBattleBetweenTheForcesOfTheVegetablesAndFishes), 1859. Colour woodblock, triptych, signed in block in first and third panels, 34.5 x 74.4cm (overall). Minorcockling.Framed. $3,600Utagawa Hirokage was a student of Utagawa Hiroshige I.Held in the Art Gallery of Greater Victoria, Canada. Hirokage’s work is represented in British Museum, Library of Congress, and The Met, NY. Ref: Wiki.

27. James McNeill Whistler (Amer./Brit.,1834-1903). The LittlePool, 1861/1871. Etching and drypoint, signed and dated in plate centre left, 10.2 x 12.6cm. Minorglue stains to upper margin, oldmountburn. $1,850State viii/viii. From the series Sixteenetchings of scenes on the Thames, 1861. Ref: Kennedy #74.

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28. Edouard Manet (French, 1832-1883). ProfilePortraitOfCharlesBaudelaire, 1862/later printing. Etch-ing, monogrammed upper left and artist’s name and printer’s line in plate below image, 10.8 x 8.9cm. $990Text reads “Peint et gravé [painted and engraved] par Manet, 1862. Imp. A[lfred] Salmon.” 2nd state. Ref: Harris #59. Charles Pierre Baudelaire (1821-1867) was a French poet, essayist and art critic. Ref: Wiki.

31. Samuel Palmer (Brit., 1805-1881). The Lonely Tower, 1879. Etching, 18.7 x 25.1cm. Minorstainsandcrinklestouppermargin. $4,400Published state iii/vi. Held in British Mu-seum; V&A. The subject of this etching is an idealized view of Lee Abbey, Devon. Ref: Peacock, SamuelPalmer:ShorehamandAfter, 1968, p131.

29. Edouard Manet (French, 1832-1883). PortraitOf Charles Baudelaire, Full Face, 1865/later printing. Etching, signed lower right and artist’s name and text in plate below image, 9.3 x 8.1cm. Oldmountburn. $990Text reads “Peint et grave [painted and engraved] par Manet, 1862. Imp. A[lfred] Salmon.” 4th state. Ref: Harris #61. This portrait is based on a photograph taken in 1862 by Nadar, a well-known French photographer. Ref: Vanderbilt University.

32. Anon. [NorthAmericanPassengerPigeon], c1880s. Pencil with white pastel, 34.2 x 26.2cm. Stainsanddiscolourationoverall,missingportionstoedges. $1,350The last known North American passenger pigeon was a female named Martha who died at the Cincinnati Zoo in 1914. She was approximately 29 years old. The name of the species is derived from the French word passager, meaning “passing by”, due to the migratory habits of the bird.

30. After James McNeill Whistler (American/Brit.,1834-1903). PortraitOfHisMother, 1871/1905. Photogravure, text with date “1905”, title and artist in plate above and below image, publisher’s blind stamp in lower margin, 41.2 x 46.6cm (image). Slightscuffstoimagewithsmallwhitemarkstoedges,slightfoxing,tearsandcreasestomargins. $2,450 Text includes “London & Washington, by the Fine Arts Publish-ing Co. Ltd, Charing Cross House, London. Printed in England.” Stamp reads “Burlington Proof, Fine Arts Publishing Co. Ltd. ”Whistler’s painting Arrangement in Grey and Black No. 1,

colloquially known as Whistler’sMother, was purchased by France in 1891. The painting went on tour in the USA during the Great Depression and the image of the “stoic mother” became an inspiration to the American people. Soon after seeing the painting in 1934, President Franklin D. Roosevelt was so impressed that he designed a Mother’s Day stamp using the image, taking the painting to iconic status.Educated and well-travelled, Anna Matilda (née McNeill) Whistler (1804-1881) was reputedly chosen as the subject of the painting by default due to the original sitter becoming unavailable. It is also believed that Whistler began preparatory studies with his 67-year-old mother standing, but as she had been ill the pose proved too tiring. At the time Whistler and his mother were living in Chelsea in London.Whistler’s mother was married to George Washington Whistler (1800-1849), a prominent civil engineer who was the first to equip steam locomotives with whistles. After her husband’s death, she wore black for the rest of her life. Ref: NGV; Wiki.

33. James McNeill Whistler (Amer./Brit.,1834-1903). The Tyresmith, 1890. Lithograph, butterfly monogram in image centre left, 16.7 x 17.3cm. Publisher’sline trimmed from uppermargin,minorsoiling and creases,missing portion tolowerrightcorner. $1,350Published by T.R. Way for The Whirlwind: ALivelyandEccentricNewspaper, Nov. 15, 1890 in an edition of 500 to 1,000. The Tyresmith was second of three lithographs submitted by Whistler to be published in this journal. Ref: Spink, Stratis & Tedeschi #36; Levy #41. Held in The Met, NY, with full margins.

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34. Félix Vallotton (Swiss/French, 1865-1925). ÀSchumann (ToSchumann), 1893/1895. Woodcut, printed on blue paper, titled and initialled in block lower centre, printer’s line in letterpress below image, 15.1 x 12.2cm. Minor stains to margins, old mountburn. $880Printer’s line reads “C. Grumbach, Leipzig.” Ref: TheGraphicWorkofVallotton1865-1925,Arts Council, 1976, #49, noting that this portrait of the German composer Robert Schumann (1810-1856) was commissioned by the Berlin journal Pan, and published in the first issue (April-May 1895) of both its Paris and Berlin editions. Félix Edouard Vallotton was associated with Les Nabis, a Post-Impressionist avant-garde group of artists. He was a key figure in the development of the modern woodcut. Ref: Wiki.

37. AfterHal Ludlow (Brit., 1861-1947). TheProfessionaland The Amateur, 1895. Pair of colour lithographs with letterpress, signed in image lower left, text, date and title above and below image, 39.9 x 29.8cm (each). Minor scuffing and paper remnants toimagescentreright. The pair $1,350Text reads “The Sketch Christmas Number, 1895.” Born in Newport, Monmouthshire,

Harold Stephen “Hal” Ludlow was an illustrator for Dalziel Brothers publications, and a political cartoonist. He worked for numerous magazines including Sketch,Chums,TheIllustratedLondonNews, and the PennyIllustratedPaper. Ref: UKcomics.wikia.

35. Paul Gauguin (French, 1848-1903). Mahna No Varua Ino(The Devil Speaks), 1893/1921. Woodcut, initialled “P.G.O.” and titled by Gauguin in block lower left, numbered “53”, annotated and signed by artist’s son Pola Gauguin in pencil in upper and lower margins, 20.3 x 35.4cm. Minorcreasetoimagelowercentre,slightcocklingandrubb-ingtomargins,oldmountburn. $8,800

Annotation reads “Paul Gauguin fait. [made by], Pola Gaugin imp. [printed by].” Gauguin’s son, Paul Rollon “Pola” Gauguin (1883-1961), was also an artist and art critic. He printed a number of impressions from his father’s original wood blocks to make them more accessible to the public. Ref: Kornfeld #19. Held in Art Institute, Chicago.

38. Henri de Toulouse-Lautrec (French, 1864-1901). LesVieuxPapillons(OldFlirts), 1895/1935. Lithograph with sheet music, monogrammed lower left, 26 x 19.5cm. Minorfoxing.Double-sidedframe. $1,850This is the fourteenth of fourteen song titles in the series MélodiesdeDésiréDihau. Each was issued by Paris music publisher C. Joubert with the text “Melodies sur le des Poesies de Jean Richepin”, with the piano accompaniment. Ref: Adriani #158. Held in MoMA.

36. William Henry Bradley (Amer., 1868-1962). “TheEcho”,Chicago’sHumorousAndArtisticFortnightly, 1895. Colour lithograph with letterpress, artist name in image lower left, 21.2 x 13.8cm. Minorfoxingtoimagelowerright,slightcreasesnotaffectingimage. $990French text reads “Affiche de Bradley, Amerique. Les Affiches Etran-geres. G. Boudet, editeur. Imprimerie Chaix.” Held in The Met, NY.This poster was published by Les Maitres de l’Affiche (Masters of the Poster), which was established to provide posters in a smaller format to accommodate collectors. From 1895 to 1900, Les Maitres de l’Affiche was issued in monthly instalments of four posters. Ref: Wiki.

39. James McNeill Whistler (Amer./Brit.,1834-1903). Little Evelyn, 1896. Lithograph, butterfly monogram in image upper left, letterpress below image, 17.5 x 11.6cm. Slight stains to image uppercentreandmargins,minorcreasesandtearstoedgeofrightmargin,oldmountburn. $1,250Trimmed text reads “ArtJournal,March, 1896.” From an edition of 3,000, printed by Thomas Way (Whistler’s favourite printer) for the publication TheArtJournal, 48, no. 135. The subject of this image, Evelyn, was the daughter of art dealer David Croal Thompson of Highgate. Held in NGA; The Met, NY.

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40. James Pryde (Brit., 1866-1941). PortraitStudyOfW.P.Nicholson, 1897. Colour lithograph, signed in image lower right, magazine blindstamp “The Studio, London” below image, 21.1 x 14.8cm. Slight stainsoverall. $770From TheStudio magazine, issue 57. The Beggarstaff Brothers, James Pryde and William Nicholson or “J. & W. Beggarstaff”, were brothers-in-law who collaborated on poster designs between 1894 and 1899. Their “revolutionary designs presented the image in its starkest form: the background is stripped bare of unnecessary detail and the fullest use is made of the silhouette.” Ref: Beggarstaffs.com; Wiki.

43. Stanley Anderson (British, 1884-1966). Hedge-Laying, 1945. Engraving, monogrammed in plate lower right, signed in pencil in lower margin, letterpress on original mount accompanying image, 10 x 7.6cm. Minorfoxingtomargins. $770Text on mount reads “An original line-engraving by Stanley Anderson, RA, RE, is published in an edition of two hundred and fifty copies, exclusively for members of The Miniature Print Society, 1244 Martha Custis Drive, Alexandria, Virginia [USA]. December, 1945.” Held in The Met, NY.

41. Richard Müller (German, 1874-1954). SchneedächerMitTele-phonstand(SnowyRoofsWithTele-phone Lines), 1899. Etching and aqua tint, artist, title and text “Pan, V, 2. Originalradierung [etching]” in letter press in lower margin, 15 x 22.7cm. Slightfoxingtomargins. $880Ref: Günther #47. Held in de Young Museum, San Francisco.

44. Anon. L’Habitue[TheRegular], c1920s. Etching, initialled “A” in plate lower right, editioned 49/50, indistinguishable signature and titled in another hand in pencil in lower margin, 17 x 22cm. Oldmountburn. $990Most likely from a series on French brothels. Provenance: Colin Lanceley estate.

42. After Cecil Aldin (Brit., 1870-1935). [Stagecoach], c1920s. Colour litho graph, publisher’s line above image, signed in image lower right, 28.7 x 65cm. Repairedtearslower

left,minorcreasesto margins, oldmountburn. $1,100Publisher’s line reads “No. 131. Copyright Lawrence & Jellicoe Ltd. 34 Henrietta St, Cov ent Garden, Lond., WC. J.L. Goff -art, Printer, Brussels.”

45. Anon. Le “3”, c1920s. Etching, initialled “A” in plate lower right, editioned 49/50, indistinguishable signature and titled in another hand in pencil in lower margin, 21.9 x 16.9cm. Oldmountburn. $990Most likely from a series on French brothels. Provenance: Colin Lanceley estate.

20th Century

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46. Anon. [BurningHeartWithCupid,Goblin,Angel And Fairy Figures], c1920s. Gouache, obscured signature lower centre, sketch verso, 24.6 x 16.1cm. Minorpaintlossandslightmissingportion to image right and lower left corner, oldgluestainstomargins. $1,350One winged figure captioned with “Hopes.”

49. Geneviève Asse (French, b.1923). [HorizonBetween Sea And Sky], c1960s. Colour litho graph, editioned 90/90 and signed in pencil in lower margin, 50.1 x 38cm. Slightfoxingandstainstomargins. $660Geneviève Asse has used light and space as the subject for her work for over fifty years. She has had major exhibitions with the Pompidou Centre; Museum of Fine Arts, Rouen; and the National Library of France.

47. Anon. Hotel Imperial [CzechRepublic], c1920s. Colour woodcut, initialled “A.S.” in block lower left, anno tated “orig. holzschnitt (wood-cut)”, titled and indecipherable signature in pencil in lower margin, 24 x 29.6cm. Minor tears, creasesandfoxingtomargins. $880The Hotel Imperial is located in Kar-lovy Vary in the Czech Republic. Wes Anderson’s 2014 film The Grand Buda-pest Hotel was partly inspired by the hotel and its surroundings. Ref: National Geographic.

50. Norman Ault (Brit., 1880-1950). [SacrificeInsideAHeptagram], 1911. Watercolour with ink and gouache, signed and dated in ink lower right, 32.3 x 22.9cm. Minor paint loss to image upperleft,foxingandmissingportionstomargins. $1,250

48. Anon. [WomanWithMuff], 1926. Ink and wash with coloured pencil, signed “Deane” and dated upper left, 27.1 x 16cm. Minorfoxingoverall,pinholes,tippedtooriginalbacking. $1,450

51. Mario Avati (French, 1921-2009). Avati[Exhi-bition], 1963. Screenprint, poster format, date in plate below image, 47.8 x 27.8cm. Minorfoxingandcreases,slighttearstoupperandloweredges. $880Text reads “Sagot-Le Garrec, 24 Rue du Four, Paris 6. Avati, manieres-noires & aquatintes. 8 Fevrier-2 Mars 1963.” The image of the pigeon was taken from one of Avati’s mezzotints.Mario Avati studied at the Ecole des Beaux Arts in Paris along with Marc Chagall. He mastered the printing technique of mezzotint, and became the first engraver to win the Paris Prix des Critiques. Ref: ParisReview, no. 17, 1957.

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52. Max Beckmann (German, 1884-1950). PierrotUndMaske, 1920. Lithograph, artist, title and process in letterpress verso, 31 x 20cm. Minor tears anddiscolourationtoedgesnotaffectingimage. $1,950Plate 30 from the illustrated book Deutsche Graphiker derGegenwart (German Printmakers of Our Time), Leipzig, 1920. Held in MoMA.

55. Edmund Blampied (Brit., 1886-1966). TheEvilEye, 1933. Litho graph, signed, dated and titled in image lower left to right, signed and dated “1934” in ink below image, 19.5 x 33.2cm. Stainsoverall. $1,250Blampied made over 30 lithographs, many of dogs, which were not recorded in either catalogue raisonné. Ref: Wiki.

53. Maurice F. Bilton (American, active 1930s-50s). The Pressman [Printing Press Operator], c1930s.

Double-sided oil painting on paper, signature incised into image lower right, titled and signed in ink below image verso, 68.2 x 50cm. Pinholes,missing portions and tears toedges,slightcrinkles. $1,350Verso image shows a musician playing a banjo. Maurice Bilton was a lecturer at Ridgewood Art Institute (RAI) in New Jersey. He was married to artist Minnie Lois Murphy (Amer.,1901-1962). Ref: RAI.

56. Edmund Blampied (British, 1886-1966). [Procession Of TheAbsurd], 1944. Watercolour with pencil, signed and dated upper centre, annotated in unknown hand in pencil verso, 36.2 x 54.9cm. Reinforcedcorners,minortearstorightandloweredges,slightfoxingandcreases. $3,300Annotation reads “A one-way in Kwath-LoothLeeth Boro. (To amuse boys “dotty” on engineering. Vide E. Blampied).”Author Marguerite Syvret notes in her biography of Blampied that while he was stranded on the island Jersey during WWII his “humorous drawings abounded; but these were created to entertain personal friends, to bring cheer to parents cut off from their children or husbands from their wives.” Ref: Syvret, Edmund Blampied, 1986, p123.

54. Edmund Blampied (Brit., 1886-1966). TremorsInThePark, 1932. Lithograph, titled, signed and dated in image lower left to right, signed in ink on image lower centre, 21.6 x 33.1cm. Slight stains and foxing overall,oldmountburn. $1,250This image was included in the Art Institute of Chicago’s InternationalExhibitionofContemporaryPrints held in 1934.

57. Emma Bormann (Austrian, 1887-1974). MünchenKurtEisnerBegräbnis[KurtEisner’sFuneralInMunich], c1919. Colour woodcut, titled, captioned, annotated “orig. holzschnitt [woodcut]” and signed in pencil in lower margin, 29.8 x 42.9cm. Tearsandcreasestomargins. $1,100Translated German caption includes “The unions assemble…” Kurt Eisner (1867-1919) was a German-Jewish socialist journalist, theatre critic, and pacifist. As a socialist journalist and statesman, he organised the Socialist Revolution that overthrew the monarchy in Bavaria in Nov-ember 1918. He was assassinated on 21 February 1919. Ref: Wiki.

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58. Sir Frank Brangwyn (Brit., 1867-1956). [Rabbi Studying], c1931. Drypoint, initialled in plate upper right, signed in pencil in lower margin, 16.2 x 14.9cm. Minorfoxingtouppermargin. $990In 1931 Brangwyn illustrated the book L’Ombre de laCroix (The Shadow of the Cross) for Jérôme & Jean Tharaud, which described the lives of Jewish people in contemporary Europe. The prints illustrate the town of Belz in Poland which was a centre of pilgrimage. Brangwyn seems to have etched a majority of the plates from photographs. Ref: British Museum.

61. Dorothy Burroughes (Brit., c1893-1963). [Gladiator], c1920s. Linocut, signed and editioned 10/100 in pencil in lower margin, 14.2 x 12.6cm. Minorpaperremnantstoimagecentreright,slightcreases.Laiddownonacid-freetissue. $1,100Educated at the Slade School of Fine Art, Dorothy Burroughes was an illustrator, designer and linocut artist. She contributed to a number of magazines including The Bystander and IllustratedLondonNews. She became well known for her illustrations of animals, which appeared in numerous books in the 1920s and 1930s. She also designed posters for the Underground Group (Electric Railway Company). Ref: London Transport Museum.

59. Georges Braque (French, 1882-1963). Theogénie, 1932. Etching with remarques, captioned “Hesiodos And Mousa” in Greek in plate, signed in ink in lower margin, 36.5 x 29.9cm. Minorfoxingandrepairstoimageupperandlowerright,slightstainsandpaperlosstomargins. $1,350In 1930, Vollard asked Braque to illustrate a text for him; Braque chose Hesiod’s Theogeny. While 16 etchings were made for a planned edition of 50, the run was not completed due to “the slowness of the [Galanis’] printing.” Ref: Vallier #20.

62. Sir David Young Cameron (Scottish, 1865-1945). MyLittleLadyOfLuxor, 1909. Etching with drypoint, signed and dated in plate lower left, signed in pencil in lower margin, 30.4 x 15.1cm. Repairedminortearandfoxingtomargins,oldmountburn. $1,100This print shows an ancient Egyptian mirror with a caryatid handle (pillar in the form of female figure).During 1908 Cameron travelled to Egypt to visit Cairo’s museums, the pyramids, and to Luxor to see the ruins of the ancient capital, Thebes. Held in National Galleries of Scotland.

60. Kenneth Broad (British, active 1920s-30s). TheCoach, c1930. Colour lino cut, annotated “no. 30”, titled and signed in pencil in lower margin, 19.1 x 22.7cm. $770

63. Marc Chagall (French, 1887-1985). Chagall Lithographe, 1960. Colour lithograph, book cover, titled in image upper and lower right, text “printed in France” on left panel, 32.4 x 55.2cm. Repairededgesandcorners, slight discolouration andcreasestocentreofimage. $1,250Cover for TheLithographsofChagall,Vol. 1, 1960. Ref: Mourlot #281.

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64. Marc Chagall (French, 1887-1985). The Painter AndHisDouble, 1981. Colour litho-graph, 31.8 x 47.2cm. Minorfoxing to lowermargin,verticalcentrefoldasissued. $1,450From Derrière le Miroir, no. 246, 1981. Ref: Mourlot #992.

67. Isabel de B. Lockyer (Brit., 1895-1980). TheShopWindow, 1930. Colour linocut, titled, signed, dated and editioned 14/50 in pencil in lower margin, 20.5 x 17.2cm. Minor stains tomargins. $1,250

65. Jean Cocteau (French, 1889-1963). MyCaptainBlood, 1952. Crayon with wash, titled, annotated “pour Tomas”, signed and dated across image, 36.6 x 45cm. Missing portion to upper edge,slightsoiling. $2,650Drawn on an old document wallet folder.Jean Cocteau was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novel LesEnfantsTerribles (1929), and the films BloodofaPoet (1930), BeautyandtheBeast (1946) and Orpheus(1949). His circle of associates and friends included Kenneth Anger, Pablo Picasso, Jean Hugo, Jean Marais, Coco Chanel and Edith Piaf. Ref: Wiki.

68. James H. Dowd (British, 1884-1956). At Yarmouth [Donkey And Boy], c1920s. Etching with drypoint, signed by Dowd and titled in an unknown hand in pencil in lower margin, 20.1 x 14.7cm. Slightfoxingtoedgesandlowerportionofimage,oldmountburn. $880

66. Salvador Dali (Spanish, 1904-1989). KingSolomon, From “Song Of Songs” Series, 1971. Drypoint with pochoir and gold dust, annotated “E.A” and signed in pencil in lower margin, 40.3 x 25.3cm. Oldgluestainstoedgesofmargins. $1,850Ref: Michler and Lopsinger #468.

69. George Pearse Ennis (Amer., 1884-1936). [SailorsFighting], c1930s. Etching, signed in plate lower left, 25.2 x 30.1cm. Minor soiling andrepairedslightteartolowermargin. $990Ennis was a painter who also became known for the stained glass window he designed for the United States Military Academy at West Point, NY. Ref: Art Institute, Chicago.

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70. Max Ernst (German, 1891-1976). [Un-titled], 1947. Colour lithograph, signed lower left, 17.6 x 15.2cm. Minor discolouration andstainstoedgesofmargins. $990From an edition of 999, published in LeSurréalismeen1947, the catalogue for the Ex po sition Internationale du Surréalisme, organised by André Breton and Marcel Duchamp, published by Maeght Éditeur. Ref: NGA.

73. Alberto Giacometti (Swiss, 1901-1966). SeatedNude, 1961. Lithograph, 38 x 27.9cm. $770From DerriereleMiroir, no. 127. Ref: Lust #151.

71. Max Ernst (German, 1891-1976). AprèsMoi [AfterMe], Le “XXe Siècle”, 1971. Colour lithograph, 29.1 x 23.7cm. $770This lithograph is from the second issue, which was unsigned and unnumbered, published in Hommageto Max Ernst, XXe Siecle, special number, Paris, in 1971. The first issue, also published in 1971 in a limited edition of 80, was signed and numbered by Ernst. Ref: Hanover #169.BP.

74. Alberto Giacometti (Swiss, 1901-1966). SeatedFigure, 1961. Lithograph, 38 x 27.9cm. $770From DerriereleMiroir, no. 127. Ref: Lust #158.

72. Alberto Giacometti (Swiss, 1901-1966). Nude In Profile, 1961. Lithograph, 38 x 28cm. Minordiscolourationtoedgesofpaper. $770From DerriereleMiroir, no. 127. Ref: Lust #149.

75. Alberto Giacometti (Swiss, 1901-1966). SeatedMan And Sculpture, 1961. Lithograph, 38 x 56cm. Oldverticalfoldasissued,minorstainsandcreasestoupperandleftedges. $990From DerriereleMiroir, no. 127. Ref: Lust #150.

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76. Robert John Gibbings (British, 1889-1958). ClearWaters, 1920. Wood engraving, initialled in block lower left, 21.6 x 11.6cm. Minor foxing to image,paper loss,creasesanddiscolourationtomargins,oldmountburn. $1,950Gibbings’s use of the “vanishing line technique” is clearly illustrated in this print which was “his first significant engraving of a figure. Here the delicate outline of the body is never defined by a line other than the boundary of one area of highlight with that of shadow; the eye naturally completes the shape by implication...Gibbings used the technique in much of his early work around the time when he started to become a serious contender in the art world.” Ref: University of Otago Library.

79. AfterGeorge Grosz (German/Amer., 1893-1959). Haifische(Sharks), 1921/1923. Lithograph, erased number “66” in image lower left, signed in pencil below image lower right, 21.7 x 26cm. Minorstainsand foxingupperandlowercentre. $1,350This lithograph is from the series EcceHomo(BeholdtheMan),deluxe edition “B1”, issued in an edition of 100. Ref: Dückers #SI, 66. A complete volume of EcceHomo, regular edition “C”, published in 1923, is available upon request.

77. William Giles (British, 1872- 1939). ThePassingShow, c1920s. Colour woodcut, mono grammed in block lower left, titled in pencil in lower margin, 26.6 x 47.6cm. Creases,minor foxingandmissingportionstomargins. $1,900

80. After George Grosz (German/Amer., 1893-1959). Der Hypochonder Otto Schmalhausen (Hypochondriac), 1921/ 1923. Lithograph, numbered “21” in plate lower left and signed in pencil lower right, 28 x 19.2cm. Foxing. $1,550This lithograph is from the series Ecce Homo (Behold theMan), deluxe edition “A”, issued in an edition of 50. Ref: Dückers #SI, 21.The graphic artist Otto Schmalhausen (1890-1958) was a close and life-long friend of Grosz. They later became brothers-in-law and both exhibited at the First International Dada Show in Berlin. Held in MoMA.

78. After George Grosz (German/Amer., 1893-1959). DerAbsoluteMonarchist, 1918/1923. Lithograph, numbered “35” in plate lower left, signed in pencil lower right, 27.7 x 18.1cm. $1,550The lithograph is from the series Ecce Homo (Behold the Man),deluxe edition “A”, issued in an edition of 50. Ref: Dückers #SI, 35.

81. Walter Helfenbein (German, 1893-1984). Salome, 1921. Series of six etchings with aquatint and additional etched frontispiece, each titled “Salome” from “I” to “VI”, annotated “15. abzug [impression]”, signed and dated in pencil in lower margin, sizes range from 6.7 x 7.8cm to 19.6 x 19.3cm. Minor foxingto margins, old mount burn. The set $1,950Frontispiece text reads “Ev. Marci cap., 6 [Gos pel of Mark, Chap ter 6]. 6 radie run gen [etchings] von Walter Helfenbein.” The etchings tell the

story of Salome, daughter of Herod II and Hero dias, who became infamous for demanding and receiving the head of John the Baptist, according to the NewTestament. Ref: Wiki.

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82. Paul Helleu (French, 1859-1927). [Portrait Of A Society Lady], c1905. Drypoint, signed in pencil on image lower left, 53.9 x 33cm. Minor stains andpaperlosstoimagelowerright,oldmountburn. $3,800Paul César Helleu was a French oil painter, pastel artist, drypoint etcher, and designer, best known for his numerous portraits of beautiful society women of the Belle Époque. His commissions also included the ceiling mural of night sky constellations for Grand Central Terminal in New York City.Awarded the Légion d’honneur in 1904, Helleu became one of the most celebrated artists of the Edwardian era in both Paris and London. He was an honorary member of important beaux-arts societies, including the International Society of Painters, Sculptors, and Engravers, headed by Auguste Rodin, and the Société Nationale des Beaux-Arts.Among Helleu’s many friends was Coco Chanel, who chose beige as her signature colour upon the advice of the artist who compared it to “the colour of the sand on the beach of Biarritz in the early morning.” Both Helleu’s son Jean and his grandson Jacques became artistic directors for Parfums Chanel. Ref: Wiki.

83. William Ernst Hentschel (Amer., 1892-1962). [KneelingFemale], c1930s. Colour airbrush sten cil print (pochoir), signed in pencil on image lower left, 38 x 36.8cm. Minorstainsandpaper losstomargins,oldmountburn. $1,950Provenance: Colin Lanceley estate. Similar work held in the Philadelphia Museum of Art with the comment “A painter, teacher, and craftsman, William Hentschel also worked as a ceramic designer for the Rookwood Pottery company in Cincinnati from 1907 to 1939. Around 1930, he used an airbrush to create a series of stencil prints in the popular Art Deco style that focused on simplified areas of colour and stylized abstractions.”

84. David Hockney (British, b.1937). OneNight, 1966. Four etchings with aquatint, each stamped “Edition B” verso, sizes range from 34.7 x 22.3cm to 35 x 22.6cm. Onewithslightteartorightmargin,allwithminorstainsandoldmountburn. The group $3,300Four of thirteen etchings for IllustrationsforFourteenPoemsfromC.P.Cavafy,published by Editions Alecto in 1967 as both a limited-edition book and six loose-leaf portfolio editions. Ref: Tate Gallery; British Council.

85. David Hockney (British, b.1937). MauricePayne, 1971. Etching, annotated “artist’s proof”, signed and dated in pencil with copyright blindstamp in lower margin, 68.4 x 54cm. Minorfoxingtolowerportionandmargins,slightcockling.Framed. $5,500Held in the British Museum with the comment “The printer Maurice Payne worked with Hockney on his etchings in the late 1960s and 1970s as well as with many other artists including Jim Dine. This etching was proofed by Maurice Payne in London and printed by Shirley Clement at the Print Shop in Amsterdam. It was published by Petersburg Press in an edition of 75 plus 16 proofs.”

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86. Dagmar Hooge (German, 1870-1930). [MountainLandscape], c1920s. Colour wood cut, anno tated “no. 10” and sig ned in pencil in lower margin, 20.8 x 32.1cm. Slightcreasetoimageupperright,minordiscolouration, repaired tears andmissing portions to margins. Laiddownonacid-freetissue. $880

89. Louis Icart (French, 1888-1950). MarchandeDeFleurs(FlowerSeller), 1928. Hand-coloured dry -point with aquatint, artist’s copyright with date, illegible “Paris” publisher’s line in plate above image, artist’s blindstamp, numbered “163” and signed in pencil below image, 49.7 x 38cm. Slightpaperlossoverall,minor stains and missing portions to margins, oldmountburn. $1,650Ref: Holland, Catania and Isen #336.

87. Louis Icart (French, 1888-1950). Fidelity, 1927. Drypoint and aquatint, printed à la poupée, with hand-colouring, “Louis Icart Society” blindstamp, signed by Icart and annotated “416” in an unknown hand in pencil below image, 48 x 39.2cm (oval). Perforation and tears to imagelowerleft,minorsurfacelossoverall,gluestainstomargins,oldmountburn. $1,950Ref: Holland, Catania and Isen #307, lists alternate title MySecretLove.

90. Louis Icart (French, 1888-1950). Martini, 1932. Drypoint with aquatint and roulette with hand-colouring, artist’s copyright with date and “NY” in plate above image, “Louis Icart Society” blindstamp and signed in pencil in platemark and lower margin, 33.5 x 43.3cm. Repairs andrubbing to upper right and edges ofimage,oldgluestainstomargins.Laiddownonacid-freebacking. $1,350

During the 1920s Louis Icart formed a society in his name to market his etchings in New York. Ref: Holland, Catania and Isen #418, lists alternate title, Cocktail.

88. Louis Icart (French, 1888-1950). LaCachette(HidingPlace), 1927. Drypoint and aquatint, printed à la poupée with hand-colouring, artist’s copyright with date and “Paris” in plate above image, “Louis Icart Society” blindstamp, annotated “e 412” in an unknown hand and signed by Icart in pencil below image, 48.1 x 39.2cm (oval). Minorsurfacelossoverall,gluestainstomargins,oldmountburn $1,950Ref: Holland, Catania and Isen #308.

91. Paul Jacoulet (French/Japanese, 1896-1960). La Soupe Aux Huitres Chinois (ChineseOyster Soup), 1948. Colour woodcut, signed in pen cil with artist’s chop on image lower left, title and printer’s stamp in lower and left margin, “no. 184/350” stamped verso, 39.3 x 30.1cm. Oldgluestainstomargins. $1,450Ref: Miles #93.

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92. Wassily Kandinsky (Russian/French, 1866-1944). Woodcut For“XXe Siecle” [Periodical], 1939. Colour woodcut, monogrammed in block lower left, 21.7 x 27.7cm. Minorfoxing to image lower centre andoldmount burn, slight paper loss tocornersverso. $3,900Total edition of 1,200 (600 each for English and French editions). Illustrated in Roethel, TheGraphicWorkofKandinsky, 1973, p73. Held in LA County Museum of Art.

95. Marie Laurencin (French, 1885-1956). Le Chapeau Sur Les Yeux (TheHatOverTheEyes), 1923/later printing. Hand-coloured etching, 8.5 x 7cm. Oldmountburn. $880Ref: Marchesseau #67.

93. Kathe Kollwitz (German, 1867-1945). DieElternderKünst-lerin (TheArtist’s Parents), 1919. Lithograph, signed in pencil below image, 31.6 x 47.5cm. Slight fox-ing, cockling, minor creases andperforation tomargins, oldmountburn. $2,200Ref: Klipstein #136. Held in de Young Museum, San Francisico.

96. Marie Laurencin (French, 1885-1956). Alice [InWonderland], 1930/later printing. Colour lithograph, editioned 113/ 150, signed in pencil and editor’s blind stamp below image, 21.5 x 22.2cm. Oldmountburn. $1,550Blind stamp reads “H. Petiet, Editeur, Paris.” Illustrated in Carroll, AliceinWonderland, Paris, 1930. Ref: Marchesseau #164.

94. Wilfredo Lam (Cuban, 1902-1982). [Untitled], 1947. Colour li tho graph, 23.6 x 16.1cm. Minordiscol-ourationtoedgesofmargins. $880From an edition of 999, published in LeSurréalismeen1947, the catalogue for the Ex po sition Internationale du Surréalisme, organised by André Breton and Marcel Duchamp, published by Maeght Éditeur. Ref: NGA.

97. Lawrence Edward Lewis (Amer., active 1950s-60s). Graham [Keene], 1957. Etching with aquatint, accompanied with typed letter attached to mount verso and “Corcoran Gallery of Art” exhibition catalogue, signed in plate lower right, 22.4 x 13.2cm. Stains,repairedtearsandmissingportionstomargins.Laiddownonacid-freetissue. $990The letter dated “1 January, 1960” includes “Dear Mr. Stone, I have been told you wish some information re the etching ‘Graham’…The etching was executed, from sketches done a few months before, in the spring of 1957 in London. It was done on a zinc plate, and there were I think eight prints pulled, six of which are scattered over the English countryside. Graham Keene, a sculptor I knew for several years in London, died half a year or so after the first sketches were completed…This etching won prizes in the YoungContemporaries exhibition in London in 1958, and was accepted in the Cotswold Artists exhibition of the same year…I remain, yours, Lawrence Edward Lewis.”The accompanying Corcoran Gallery of Art catalogue lists the exhibition dates “November 21 to December 20, 1959” and includes names and addresses for the exhibiting artists. Lawrence Edward Lewis’ address at the time was “702 Devonshire Road, Takoma Park, Maryland, [USA].”Established in 1890 the Corcoran Gallery of Art was incorporated into the National Gallery of Art in Washington DC in 2014. Ref: Wiki.

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98. Richard Lindner (German/Amer., 1901-1978). NY Men, 1971. Colour lithograph, editioned 119/175 and signed in pencil below image, 60 x 50.5cm. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

101. Richard Lindner (German/Amer., 1901-1978). Fifth Ave, 1971. Colour lithograph, editioned 119/175 and signed in pencil below image, 60.3 x 50.9cm. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

99. Richard Lindner (German/Amer., 1901-1978). Poet[AllenGinsberg], 1971. Colour lithograph, editioned 119/175 and signed in pencil below image, 60.5 x 49.8cm. Minorstainsbelowimage. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art; MoMA.

102. Richard Lindner (German/Amer., 1901-1978). GirlWithHoop, 1971. Colour litho graph, editioned 119/175 and signed in pencil below image, 60.9 x 51.2cm. Minor stain to imagelowerleft. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

100. Richard Lindner (German/Amer., 1901-1978). On, 1971. Colour lithograph, editioned 119/175 and signed in pencil below image, 61 x 50.9cm. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

103. Richard Lindner (German/Amer., 1901- 1978). Uptown, 1971. Colour lithograph, editioned 119/175 and signed in pencil below image, 60.7 x 50.7cm. Repairedminor tearandstain toupperedgeofimage. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

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104. Richard Lindner (German/Amer., 1901-1978). FirstAve, 1971. Colour litho-graph, editioned 119/175 and signed in pencil below image, 60.6 x 50cm. Trimmedleftedge. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

107. Iain Macnab (British, 1890-1967). Haute-Savoie [French Alps], c1940s. Colour lithograph, initialled in image lower left, annotated “state 2”, titled and signed in pencil in lower margin, 27.5 x 29.4cm. Repairedtears to imageupperrightandlowercentre,slightstainsandcreasestomargins. $2,950Haute-Savoie is in the Auvergne-Rhône-Alpes region of eastern France. The first Winter Olympic Games were held at Chamonix in Haute-Savoie in 1924. Ref: Wiki.

105. Richard Lindner (German/Amer., 1901-1978). Lollipop, 1971. Colour litho-graph, editioned 119/175 and signed in pencil below image, 60.7 x 50.4cm. $1,250From the folio Fun City, consisting of 14 colour lithographs produced and published by Shorewood Publishers Incorporated, New York, 1971. Held in Dallas Museum of Art.

108. After René Magritte (Belgian, 1898-1967). L’Oeil (Eye), 1968. Colour soft-ground etching with rocker, editioned 112/150 in pencil with stamped artist’s signature and blindstamp in lower margin, 17.7 x 14.5cm. Minorstainstoimagecentreleftandmargins. $5,500Blindstamp reads “Gravure originale, Atelier René Magritte.” Ref: Kaplan & Baum #17.

106. Boris Lovet-Lorski (Lith./Amer., 1894-1973). [Male Figure], c1929. Lithograph, signed in pencil below image, 31.4 x 23.7cm. $1,350Likely from a portfolio of lithographs published in two volumes in Paris, 1929. Ref: British Museum.Boris Lovet-Lorski worked as an architect in Russia until 1920, when he immigrated to the United States, settling in New York. His sculpture and artwork was “inspired by the nude human figure and [he] even tried briefly to go without clothes himself, but found he was annoyed and distracted by the clothing of others.” Ref: Smithsonian.

109. Aristide Maillol (French, 1861-1944). [TailpiecesFrom “The Georgics Of Virgil”], c1937-1944/1950. Three woodcuts on a single sheet, “Maillol” monogram stamped lower left with publisher’s blindstamp, 32.3 x 24cm (paper). Foxingoverall. $1,650Illustrations made forLesGéorgiquesdeVirgile, vols. I and II.The volumes, printed by Philippe Gonin in Paris, were in planning from 1910 when Maillol was travelling around Naples. The project was not revived until 1937, with the encouragement of Gonin. The last block was received in 1944, just before Maillol’s death, who supervised the cutting of the last blocks as his hands and eyes were too weak to do it himself. It was finally published in 1950. This page containing three images is possibly a printer’s proof sheet, with the Maillol stamp. The top image is the tailpiece to André Mary’s preface (landscape). The second is the tailpiece to the Latin text book III (landscape with flock), and the bottom image is the tailpiece to the French text, book III (landscape with sheep). Ref: MaillolWoodcuts:303GreatBookIllustrations, 1979.

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110. Man Ray (American, 1890-1976). Self-Portrait, c1947. Process letterpress, signed and dated in reverse in block upper right, annotated “V”, editioned 13/20 and signed in pencil in lower margin, 19.9 x 15.7cm. Minorhandlingcreasestoimagecentrerightandlowermargin. $4,950Very rare unrecorded process letterpress print, created photo-mechanically from the original photograph of Man Ray. This print has an impression mark verso indicating the process of letterpress prin ting. It is dated and signed in the image, unlike the standard issue which is listed as a screen print (which was pro duced in an edi tion of 100 in 1972). Ref: Jo sef Lebovic; An sel mino #101; The Met, NY.

113. Man Ray (Amer., 1890-1976). PortraitOfRroseSélavy[MarcelDuchamp], 1971. Aqua t int with rotogravure, edi tioned 52/125 and signed in pencil in lower margin, 25.5 x 25.3cm. Minorfoxingtomargins.Framed. $2,650Published and printed by Georges Visat, Paris. Ref: Anselmino #20.Rrose or Rose Sélavy was a pseudonym of Marcel Duchamp, who first became associated with the name when he appeared in a 1921 photograph by Man Ray, dressed as a woman. The name is a pun of the French phrase “Eros,c’estlavie.” Ref: Wiki.

111. Man Ray (Amer., 1890-1976). Un Monument, 1968. Colour lithograph, editioned 37/125 “I” and signed in pencil below image, 58 x 44.1cm. Slightpaper loss and cracking to image lower centre andright, tears and minor foxing to edges, horizontalcreases,oldmountburn. $2,200Ref: Anselmino #13. UnMonument was based on an earlier work, MonumentàD.A.F.deSade, a photograph of a cross superimposed on a nude, created in 1933. Man Ray at the time had become acquainted with the work of Marquis de Sade, and he, along with other surrealists, admired de Sade, celebrating him as “the freest spirit that had ever lived.” Ref: Wiki.

114. Roberto Matta (Chilean, 1911-2002). T’ou’tSeTient[EverythingFits], 1975. Colour lithograph, title, medium, artist and publication printed verso, 31.2 x 24.1cm. Unevenleftmargin. $660From XXeSiècle, December 1975. Printed by Mourlot.

112. Man Ray (American, 1890-1976). [MarquisDe]Sade, 1970. Colour lithograph, editioned XIII/XXX and signed in pencil in lower margin, 62.1 x 50cm. Framed. $2,900Printed by Mourlot and published by Editore Toselli, Paris. Ref: Anselmino #8.

115. Nancy McIntosh. [Caribbean Musician AndDancer], c1950s. Watercolour with ink and gouache, signed in ink lower right, 54.3 x 37.1cm. Repairedtearand minor surface loss to image upper left and right,slightstainsandfoxing. $990

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116. Allan McNab (Brit./Amer., 1901-1982). JohnnieWalkerDelights,AsAlways,ToHonourThe Brave, c1921. Etching, artist and title in plate below image, 45.5 x 34cm. Repairedtearstorightmarginincludingplatemark,paperremnantstolowerportion,oldmountburn. $1,650Text reads “Grand civic welcome to those gallant heroes HM 19th Regiment of Foot (The Green Howards) on their return from foreign service. Allan Mac Nab [sic] fecit. Issued by John Walker & Sons Limited. Scotch whisky distillers, Kilmarnock [Scotland].” Married to Dorothy Cumming, a silent film actress, artist and designer Allan McNab became the art director of Lifemagazine. He worked as design director for Norman Bel Geddes, and became the director of administration of the Art Institute of Chicago. The Green Howards (Alexandra, Princess of Wales’ Own Yorkshire Regiment) was a line infantry regiment of the British Army. Ref: Wiki.

119. Joan Miró (Spanish, 1893-1983). LeBousier(TheDungBeetle), 1978. Aquatint and drypoint, printed à la poupée, editioned 19/30 and signed in pencil in lower margin, 20.7 x 35cm (platemark), 50.9 x 66.9cm (paper). Slightdiscolourationtopaper.Framed. $4,900Printed with two plates: the first plate, forming the background image, is in aquatint and drypoint in multiple colours and most likely was larger than the paper size, thus no platemark; the second plate, which is smaller and in the centre of the image, is printed in black aquatint. Ref: Dupin & Lelong-Mainaud #1016, does not note the two plates.

117. Joan Miró (Spa nish, 1893-1983). [Lithograph II From “Sculptures”], 1974. Colour lithograph, signed in image lower right, 27.7 x 55.9cm. Old vertical fold as

issued, minor creases lowercentre. $1,150One of two lithographs included in Miro,Sculptures, 1974, published by Maeght, Paris. Ref: Mourlot #949.

120. Urushibara Mokuchu (Japanese, 1888-1953). [Fruit Bowl And Vase], c1920. Colour woodcut, signa ture and artist’s chop stamped on image centre left, annotated “no. 20” and signed in pencil in lower margin, 27.2 x 37.6cm. Paperlossandstainstomargins,oldmountburn. $1,650

118. Joan Miró (Spanish, 1893-1983). Céramiques, 1974. Colour lithograph, signed in image lower right, 42 x 62cm. Minorcockling,oldmountburn. $1,350Ref: Cramer #928.

121. Urushibara Mokuchu (Japanese, 1888-1953). [VaseOfRoses], c1920s. Colour woodcut, signature and artist’s chop stamped on image centre right, annotated “no. 117” and signed in pencil in lower margin, 38.9 x 27.6cm. Minorscratchtoimageandmarginupperright. $1,650Urushibara Yoshijirô (‘art name’ of Mokuchu) was influential in the English revival of colour woodblock printing in the 1920s and 1930s. He first travelled to London where he along with other Japanese craftsmen demonstrated printing techniques at the Anglo-JapaneseExhibitionof 1910. He remained in London after the exhibition, restoring prints and mounting scrolls at the British Museum. Later Urushibara worked with English and French designers on prints, notably with Frank Brangwyn. The two artists worked together until Urushibara’s departure for Japan in 1940.

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122. Urushibara Mokuchu (Japanese, 1888-1953). [SweetFlagFlowersAndGerberas InVaseWithFishMotif], c1925. Colour woodcut, signature and artist’s chop stamped on image centre right, annotated “no. 14” and signed in pencil in lower margin, 41.6 x 27.6cm. Oldmountburn. $1,650

125. Henry Moore (Brit., 1898-1986). Bison, 1981. Etching, signed in plate lower left, annotated “pl. VII”, editioned 40/65 and signed in pencil in lower margin, 20.9 x 27.5cm. Framed. $1,950From Animals in the Zoo series. Held in Tate Gallery.

123. Henry Moore (British, 1898-1986). Three Reclining Figures, 1971. Colour lithograph, 29.9 x 23.1cm. Slightpaper remnants toupperleftedge. $770Published for XXeSiècle, no. 36. Held in Tate Gallery.

126. Henry Moore (Brit., 1898-1986). MotherAnd Child V, 1983. Etching, aquatint and roulette, signed in plate lower left, annotated “Pl. V”, editioned 35/65 and signed in pencil in lower margin, 27.5 x 21.1cm. Minor foxing toimage.Framed. $3,300Ref: HenryMoore:MotherandChildEtchings, 1988, p28.

124. Henry Moore (British, 1898-1986). Girl Doing Homework III, 1974. Etching with aquatint, editioned 48/50 and signed in pencil in lower margin, 22.4 x 17.6cm. Minorfoxingandstainstorightmargin. $3,300Held in Tate Gallery.

127. Aubrey K. Moore (British, active 1920s-30s). [The Sheldonian Theatre,Oxford], c1930s. Colour linocut, signed in pencil in lower margin, 18.2 x 16cm. Creases and cockling to image andmargins,slightfoxing. $880The Sheldonian Theatre is the official ceremonial hall of the University of Oxford. Constructed between 1664 and 1669, it was Sir Christopher Wren’s first major design. It is one of the city’s foremost venues for concerts and plays. Ref: Wiki.

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128. Richard Müller (Ger -man, 1874-1954). WunderDerDressur(WonderOfDressage), 1911. Etching, initialled and dated in plate lower left, signed in pencil in lower margin, 28.7 x 43.8cm. Minor stains to leftmargin,slightcockling. $1,250Ref: Günther #62, noting that this is one of the most humorous and bizarre etchings Müller has created.

131. Christopher Richard Wynne Nevinson (Brit., 1889-1946). TheSpiritOfProgress, 1933. Lithograph, signed in image lower left, Studiomagazine logo below image, 24.5 x 16.5cm. Slightcrinkling. $1,450From TheStudiomagazine, no. 481, vol. CV.

129. Richard Müller (Ger-man, 1874-1954). In VollerWürde (Full Dignity), 1912. Etching, signed and dated in plate lower left, signed in pencil in lower margin, 36.1 x 52.4cm. Minorstainto imagelowerright,slightcocklingandcreasesoverall. $1,250Ref: Günther #65.

132. Karl Opfermann (German, 1891-1960). [Untitled], c1920. Ink and wash, stamped signa-ture upper right, “Lewis and Patricia Morley” ex-libris label attached to frame verso, 34.1 x 20.4cm. Cocklingandfoxing.Framed. $3,900Provenance: Lewis Morley estate.

130. Paul Nash (British, 1889-1946). [AbstractPortrait], c1920s. Woodcut, “PNT” [Paul Nash Trust] stamp in lower margin, 3.9 x 10.1cm. Minorfoxingtomargins. $1,350

133. Abel Pann (Latvian/Israeli,1883-1963). UnHéros, c1915-1917. Hand-coloured lithograph, signed and titled in image lower right and centre, annotated “Lithographie colorieé par l’artiste” and editioned 266/500 in pencil above and below image, 36.2 x 25.9cm. Tears,missingportionsandcreasestomargins. $880Ref: The Museum of Jewish Art and History, France.

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134. Abel Pann (Latvian/Israeli, 1883-1963). Jeune Savant (Young Scholar), c1920s. Lithograph, signed in image lower left, titled below image lower right, 47.1 x 36.9cm. Slightfoxing,minormiss-ingportiontoupperleftcorner. $770Held in the Museum of Jewish Art and History, France.

137. Pablo Picasso (Spa nish/French, 1881-1973). Bacchanal(Mourlot Cover III), 1955. Tinted lithograph, book cover, 33.5 x 52.9cm. Minor wear to edges ofimage. $1,850Cover for Mourlot, Picasso LithographeBd.III, 1956. Ref: Bloch #795, Cantz #667, Mourlot #280.

135. Max Papart (French, 1911-1994). [Cavalier], c1950s. Lithograph, editioned 4/8 and sig ned in pencil below image, 55.6 x 41.7cm. Oldmountburn. $880Mostly self-taught, Max Papart attended the School of Fine Arts of Marseille. His first solo exhibition was held in Paris in 1938 and he exhibited at the Sébire Gallery in Marseille in 1946, after participating in the liberation of Marseille during WWII. As a lithographer, engraver and painter his work was influenced by Post-cubism. In 1970, he learned the carborundum printmaking process from his friend and inventor Henri Goetz. He taught printmaking at the University of Paris at Vincennes from 1969 to 1973. Ref: Wiki.

138. Pablo Picasso (Spanish/French, 1881-1973). Mourlot CoverIV (Two Masks), 1963. Lithograph, book cover, dated “4.2.63” in image (twice), 30 x 50.5cm. Slightwearanddiscolouration to edges and centralportionofimage. $1,850Cover for Mourlot,PicassoLithographeBd.IV, 1964. Ref: Bloch #1108, Cantz #840, Mourlot #388.

136. Pablo Picasso (Spa nish/French, 1881-1973). Famille De Saltimbanques(Circus Family), 1933/later prin ting. Etching, annotated and dated “Paris, 30 Mars XXXIII” in plate lower right, edi tion ed 115/300 in pencil and stamped signature in lo wer margin, 19.9 x 27.9cm. Framed. $3,900From the VollardSuite. Ref: Geiser #316; Bloch #163. Also known asFamilledeSaltimbanques(CircusFamily). Held in NGA.

139. Francis (Ferenc) Revesz-Ferryman (Hungarian/Amer.,1893-1983). Motive I, c1920s. Linocut, initialled in block lower right, titled, editioned 3/15 and signed in pencil

in lower margin, artist’s stamp on slip attached verso, 25.5 x 17.6cm. Missingportionstoimagelowerleftandmargins,foxingtomargins. $990Stamp reads “F.R. Ferryman, 40-11 249th Street, Little Neck, L.I. [Long Island], NY.”Revesz (Hungarian for ferryman) was born in Hungary and attended Budapest University where he studied architecture. He went on to study painting in London with Walter Sickert and Frank Brangwyn. He emigrated in the 1920’s to the United States and settled in Little Neck, New York. Over the course of his lifetime he had over thirty international one man shows which included Philadephia, Chicago, Australia (Holdsworth Gallery in Sydney), Dresden, Budapest, London, and New York. Ref: Granddaughter Joanne Ferryman via Askart website; artist’s archive held at Smithsonian.

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140. Carl Rotky (Austrian, 1891-1977). Willow Tree, c1920s. Colour woodcut, titled and signed in pencil in lower margin, 26.8 x 21.7cm. Slight creasesand cockling, missing portions, paperremnants and stains to margins, oldmountburn. $1,150

143. Richard Ruepp (Austrian, 1885-1958). Hugo Glattauer, 1929. Bronze relief, mounted on wooden plaque, subject, artist and date cast into the bronze, captioned in

a brass plaque verso, 24.5 x 24.3 (bronze), 38 x 33.5cm (plaque). Minor scratch tocentreofbronze,chips,cracksandmissingportionstoveneerofwoodenplaque. $990Caption reads “Unserem hochverehrten chef die beamtenschaft (Our revered community leader).”This portrait is most likely of the Hugo Glattauer (1879-1949), an Austrian Jewish immigrant, who resided in Bellevue Hill, NSW. Ref: SMH, 29 Oct 1949; Rookwood Cemetery; Sculptors Finder, and Farbholzschnitt websites.

141. Carl Rotky (Austrian, 1891-1977).CottageInStyria[Austria], c1920s. Colour woodcut, titled and signed in pencil in lower margin, 14.8 x 17.5cm. Slight creasesoverall,oldtapetoedgesofmargins. $990Styria is a mountainous, forested state in southern Austria, known for its wine, spas and castles.

144. Raphael Sabatini (American,1898-1985). 7ShotsFromTheSpot-light, 1927. Folio of seven original lithographs, with contents page and frontispiece in linocut, title and date on contents page, each lithograph signed in pencil below image, 25.6 x 18cm (each); 40.2 x 32.7cm (folio). Tearsandmissingportionstocontentspage,oldgluestainstoupperedgeoffourlithographswithminor cockling, slightdiscolouration tooldmatsandfoliocover. The set $2,450

Titles read (1) Strutter; (2) Trapeze; (3) Black-Bottom; (4) Get thee from behind me Satan; (5) Pozies; (6) Shuffling; and (7) Cardboard tragedy. Text on frontispiece includes “Limited to 53 sets.” Held in Whitney Museum of American Art.

142. Olga Rozanova (Russian, 1886-1918). [Abstract Composition], c1915. Watercolour, signed verso, 25.2 x 16.8cm (paper). Slightcockling. $3,800Olga Rozanova was a Russian Constructivist painter, who experimented with Cubism and Futurism before settling on her particular abstract style. She was among the first in Russia to advocate abstract art in an essay published in 1913. She illustrated several books of Futurist poetry, including those of her husband Alexei Kruchenykh. Rozanova also composed her own experimental sound poetry, and created embroidery and fabric designs for Malevich’s unpublished journal Supremus. Ref: GroveDictionaryofArt; OxfordDictionaryofArt.

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145. Eileen Soper (British, 1905-1990). Marbles, c1923. Etching, signed in pencil in lower margin, 12.5 x 17.6cm. Minor foxing toimage upper left and margins, oldmountburn. $770Ref: Wootton #59. An etcher and illustrator of children’s and wildlife books, Eileen Soper is best known for her collaboration with writer Enid Blyton. Ref: Wiki.

148. Ernst Steidl (Czech, 1891-1966). Waldandacht,[Karlsbad,KarlovyVary,CZ], c1920s. Etching, signed in plate lower right, annotated “original radierung (etching)”, titled and signed in pencil in lower margin, 33.4 x 27.5cm. Minor tears, stains andcreasestomargins. $770Shrine in Karlovy Vary, a mineral water spa town in the Czech Republic.

146. Eileen Soper (Brit., 1905-1990). TheGardenGate, c1925. Etching, signed in pencil in lower margin, 12.7 x 17.5cm. Repairedtearstoimagelowercentreandmargin,minorfoxing,oldmountburn.Laiddownonacid-freetissue. $660Ref: Wootton #108. Held in de Young Museum, San Francisco.The daughter of illustrator George Soper, Eileen was only fifteen when her work was first accepted by the Royal Academy. Eventually Eileen and her sister became recluses in the family home in Hertfordshire. Even provisions were ordered by telephone and delivered to the garden gate so that they did not have to meet shop-keepers. Ref: BBC.

149. Alexandre Théophile Steinlen (French, 1859-1923). [WWI Soldiers And Peasants], c1914-1918. Group of five lithographs, each signed “St.” and two captioned in image, each editioned in pencil and signed in coloured pencil below image, sizes range from 31.7 x 24cm to 26 x 37.3cm. Slightcreasesandminordiscolourationoverall. The group $2,650Captions include “Ou est la gare de l’Est? Gare du N [east and north railway stations].”

A major artist of the French Art Nouveau era, Swiss-born Steinlen was mainly self-taught. In Paris he established himself as a leading illustrator of popular journals. He also contributed a large amount of drawings and lithographs to radical press publications, often using pseudonyms such as ‘Treelan’ and ‘Pierre’ to avoid political repercussions. In the 1890’s Steinlen’s use of line and design led to some of the most famous posters of the Art Nouveau movement, including Tournee du Chat Noir (1896). The majority of his art continued to explore the hardships of the poor and humble. Known as “the Millet of the Streets”, Steinlen had a vast influence. Among other artists both Toulouse-Lautrec and Picasso paid direct homage to his art. Ref: University of Illinois Library, USA.

147. Gerald Spencer-Pryse (Brit., 1881/2-1956). [Children Dancing], c1920s. Tinted litho graph, 44.5 x 36.2cm. Minorcreases,oldmountburn. $1,100Spencer-Pryse was a key advocate in lithography being recognised as an original art form during the first part of the twentieth-century. As a young man he could not afford to pursue a training in oil painting and took up lithography instead. Ref: Campbell Fine Art, UK.

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150. Alexandre Théophile Steinlen (French, 1859-1923). [WWIFundRaisingConcerts], 1916. Pair of programmes with lithographic covers, each signed and one dated “1916” in image lower left or right, each programme with printer’s line on back page, 23.7 x 33.5cm, 33.5 x 24.3cm. The pair $1,150Printer’s line reads “Imp. Eug. Verneau, H. Chachoin succ. 108 R. Folie Meri-

court, Paris. XI Arr.” Text mentions patrons including composer Gabriel Fauré. One con cert raised funds for injured WWI ve terans re tur ning to farming work, and the other raised re lief funds for the alum ni of the French National Con-ser va to rium.

153. Graham Sutherland (Brit., 1903-1980). BalancingForm, 1972. Colour lithograph, editioned 46/90 and signed in lower margin, 42.8 x 35.8cm. Minorstainstoimageandmargins. $2,900Sutherland’s early printmaking was greatly influenced by the work of Romantic artist Samuel Palmer, as well as William Blake. His early representational style of densely worked etchings eventually evolved into Surrealism. While serving

as an official war artist during WWII his work provided a visual record of desolation. His painting “Crucifixion” (1946) is considered to be one of the most important religious paintings of the 20th century. In his later works he used anthropomorphic insect, animal and plant forms. Ref: Tassi #130.

151. Alexandre Théophile Steinlen (French, 1859-1923). SurLaTerreEnnemieLesPrisonniersRussesMeurentDeFaim(OnEnemySoilRussianPrisonersAreDyingOfHunger), 1917. Lithograph, signed and dated in image centre right, 30.4 x 22cm. $770Held in Imperial War Museum, UK.

154. Yves Tanguy (French, 1900-1955). [Untitled], 1947. Lithograph, dated and signed low er left, 20 x 15cm. Minor discolouration and stains to edges ofmargins. $880From an edition of 999, published in LeSurréalismeen1947, the catalogue for the Ex po sition Internationale du Surréalisme, organised by André Breton and Marcel Duchamp, published by Maeght Éditeur. Ref: NGA.

152. Graham Sutherland (British, 1903-1980). BirdAboutToTakeFlight, 1968. Colour lithograph, dated “1.III.68” in image upper left, editioned 54/70 and signed in pencil on image lower left to right, 64.7 x 49.2cm. Framed. $2,900Published by Marlborough Fine Art Ltd, London. Printed by Mourlot, Paris. Ref: Tassi #95.

155. Dorothea Tanning (Amer., 1910-2012). [Untitled], 1947. Etching, initialled in plate lower right, 15.1 x 10.1cm. Minordiscolourationtoedgesofmargins. $880From an edition of 999, published in Le Surréalisme en 1947, the catalogue for the Ex po sition Internationale du Surréalisme, organised by André Breton and Marcel Duchamp, published by Maeght Éditeur. Ref: NGA.

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156. Joe Tilson (British, b.1928). [Dionysos], 1982. Etching with aquatint and carborundum, made up with nine plates, editioned 19/25, signed and dated in pencil in lower margin, 23 x 23.2cm (overall). Minor foxing tomargins,oldmountburn. $990Similar image entitled The Arrival ofDionysos held in Tate Gallery.

159. Sidney Tushingham (British, 1884-1968).The Sheepmarket, Bridgwater [UK], c1920s. Dry-point, monogrammed in plate upper left, signed in pencil in lower margin, titled and annotated “drypoint” in pencil on slip attached to mount ver so, 25.3 x 21.5cm. $770Ref: Konody, Etchings&DrypointsbyS.Tushingham, #14.

157. Sidney Tushingham (British, 1884-1968). VenetianBrothers, c1920s. Drypoint, monogrammed in plate upper left, signed in pencil in lower margin, titled and annotated “drypoint” in pencil on slip attached to mount verso, 28 x 20.4cm. $770Ref: Konody, Etchings&DrypointsbyS.Tushingham, #52.

160. Sidney Tushingham (Brit., 1884-1968). Dunster [UK], c1920s. Etching and drypoint, monogrammed in plate lower left, signed in pencil in lower margin, titled and annotated “etching & drypoint” in pencil on slip attached to mount verso, 22.7 x 35.1cm. $660Ref: Konody, Etchings&DrypointsbyS.Tushingham, #10. Dunster is a village within the English county of Somerset. Image shows the Yarn Market built by George Luttrell (d.1629), which became a centre for wool and cloth production and trade. Dunster Castle appears in the background. Ref: Wiki.

158. Sidney Tushingham (Brit., 1884-1968). Holiday Time, c1920s. Etching, monogrammed in plate upper right, signed in pencil in lower margin, titled and annotated “etching” in pencil on slip attached to mount verso, 25.8 x 20.5cm. $770Ref: Konody, Etchings&DrypointsbyS.Tushingham, #30. Held in Hunterian Museum, Glasgow.

161. Sidney Tushingham (Brit., 1884-1968). A Picnic, HampsteadHeath [UK], c1920s. Drypoint, monogrammed in plate lower right, signed in pencil in lower margin, 19.2 x 28.5cm. $660Ref: Konody, Etchings & Drypoints byS. Tushingham, #7.

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162. Sidney Tushingham (Brit., 1884-1968). MotherAndChild, c1920s. Drypoint, signed in lower margin, titled and annotated “drypoint” in pencil on slip attached to mount verso, 33.2 x 25.5cm. Repaired missing portions to lowerplatemarkincludingimage. $990Ref: Konody, Etchings&DrypointsbyS.Tushingham, #39.

165. Norman Wilkinson (British, 1878-1971). [Tugboat And SailingShip], c1924. Drypoint, signed in pencil in lower margin, 22.5 x 30.2cm. Oldmountburn. $990Norman Wilkinson was a British marine painter and etcher who produced about thirty drypoints between 1924 and 1930. He is known for inventing “dazzle” painting, the camouflage of merchant ships during WWI. Unlike other forms of camouflage, the intention of dazzle was not to conceal but to make it difficult to estimate a target’s range, speed, and heading by disrupting a ship’s outline. Dazzle attracted the notice of artists such as Picasso, who claimed that Cubists like himself had invented it. Ref: Guichard, BritishEtchers; Wiki.

163. Maurice de Vlaminck (French, 1876-1958). RueDe LaGlaciere [TableauxDeParis], 1937. Etching, signed in plate lower right, 33.4 x 25.7cm. Minorfoxingoverall,oldmountburn. $990Ref: Walterskirchen #146. Held in de Young Museum, San Francisco.

166. S.J. Wooy (American?, ac tive 1920s). G. Bernard Shaw, c1920s. Lithograph, titled in image lower right, signed in pencil on image lower left, 28.5 x 36cm. Minorfoxingandcreases tomargins,oldmountburn. $770George Bernard Shaw (1856-1950), was a famous Irish playwright and critic. He wrote more than sixty plays. In 1925 he was awarded the Nobel Prize in Literature. Ref: Wiki.

164. Louis Wain (British, 1860-1939). [Cat InBowtie], 1901. Ink drawing, signed and dated “Feb. 18, 1901” lower left, 13.2 x 10.1cm. Oldmountburn. $3,650

167. W.L. Wyllie (Brit., 1851-1931). [FishingBoatsInPortOfIndustrialCity], c1920s. Drypoint, signed and annotated “state. proof” in pencil in lower margin, 15.1 x 37.6cm. Creasestomargins,oldmountburn.

$1,100William Lionel Wyllie was a prolific English painter of maritime themes. He has been described as “the most distinguished marine artist of his day.” He is noted for precision of topographical detail. Ref: Guichard, BritishEtchers, p69; Wiki.

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168. Anon. [YoungMexicanCouple], c1890s. Water colour, 31.3 x 19.5cm. Repaired tears,crazingandcreases,stains,paintloss,originalbacking. $1,350

171. Prescott Chaplin (American, 1897-1968). [MexicanVillageScene], 1931. Hand-coloured wood cut, 18.3 x 27.3cm. Minor creases, foxing andrepairedtearstomargins,oldmountburn. $770From a portfolio of 12 colour woodcuts in an edition of 100, first issued in 1931. Published by Murray & Harris, Los Angeles.Artist, author and screen writer, Prescott Chaplin studied art under George Bellows, and writing with Jack London. In 1929 Chaplin made a series of Mexican wood engravings, which were shown with other

works by him at numerous exhibitions held in the USA and abroad. His work was exhibited at the 6thAnnualInternationalExhibitionofLithographyandWoodEngravings at the Art Institute of Chicago held in 1938. Chaplin’s work is represented in The Met, NY; Seattle Art Museum.

169. Mexican Folk Art Retablos, c1925-1961. Twelve oil paintings on flattened tin, each anno-tated with a description of events, some dated in text below image, sizes range from 18.3 x 22.3cm to 23.1 x 33.7cm (cut to irregular shapes). All withholesforhanging,somewithslightbowing,undulationorminorpaintloss. The group $8,800These 12 retablos describe a variety of dangerous or near-miss events such as children being saved from a flash flood; a man surviving a storm at sea; people being chased by rabid dogs. A detailed list is available upon request. A Mexican retablo is a small devotional painting, using icono graphy derived from the Catholic Church. Most were created for giving thanks to a sacred person or saint who intervened in an event that posed a threat to their well-being. The creator would often paint the dangerous scenario they had experienced, write a description underneath, and note the time and whereabouts of the event. Ref: Wiki.

172. Isidoro Ocampo (Mexican, 1910-1983). 10 GrabadosEnMadera (Woodcuts), 1941. Folio of ten original woodcuts, plus two woodcut title pages, editioned 38/50 and signed in ink with date “Abril de 1948” in Spanish on justification sheet, inscribed, signed

and dated in Spanish in ink on title page verso, each woodcut signed, dated “40” or “41” and numbered 1 to 10 in pencil in lower margin, sizes range from 3.6 x 8.8cm to 13.6 x 8.8cm (images); 31.5 x 23.5cm (folio). Minor foxing overall, slightdiscolouration to folio page edges, each image tipped tooriginalcardbacking. The folio $3,900Translated inscription reads “With great affection and warmth. To Rosalinda and her husband Hans. The Author, March 9, 1949.” Justification sheet includes “1st edition of 50. Mexico, DF, April 1948.” Held in British Museum.

170. Ray Bethers (American, 1902-1973). Taxco, Guerrero [Mexico], c1930s. Wood engraving, titled and signed in pencil in lower margin, 10.3 x 12.5cm. Minor foxing, crinklesandtaperemnantstomargins. $990Taxco, one of the most popular wood engravings of Mexico by Bethers, was exhibited extensively, including at the International Exhibition of Wood-Engravers and Lithographers at the Art Institute of Chicago in 1934.

Mexican Art

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173. Diego Rivera (Mexican, 1886-1957). NudeWithLongHair(DoloresOlmedoPatiño), 1930. Litho graph, initialled and dated in image lo wer left, sig ned, da ted and edi tioned 78/100 in black chalk be low image, 41.8 x 24.7cm. Minor foxing toimageupperrightandlowercentre,oldmountburn. $22,000Held in British Museum with the comment “Dolores Olmedo Patiño (Mexican, 1908-2002) was an art collector, philanthropist and close friend of Diego Rivera. This portrait was among the first of Rivera’s lithographs and reveals the influence of Henri Matisse. It was printed in Mexico City and published by the Weyhe Gallery in New York shortly after it was made, as part of a series of more than a hundred proofs by the artist. In that series the sitter was not identified.”

176. Millard Sheets (Amer., 1907-1989). [Mexican Travellers In DugoutCanoes], c1983. Colour lithograph, editioned 144/250 and signed in pencil in lower margin, 45.3 x 79.5cm. Slightsur-facescratchestoimagelowercentre,oldmountburn. $1,650Widely-travelled Californian-born Millard Sheets was an award-winning, prominent American artist, architect and educator, He is considered

to be the driving force behind the California-style watercolour movement during the 1930s. After winning several prizes for his paintings, he embarked for Europe, where he spent six months traveling, painting, and studying lithography in Paris. During the 1930s he made numerous trips to Mexico and Hawaii. He was an artist-correspondent for Life magazine during WWII. In 1960 he was contracted by the US State Department to travel extensively as an am bassador of American Art. Ref: Laguna Art Museum, ex hibition TravelswithMillardSheets,1950-1986, 2014.

174. Diego Rivera (Mexican, 1886-1957). Nude WithBeads(FridaKahlo), 1930. Lithograph, initialled and dated in image lower right, signed, dated and editioned 91/100 in black chalk below image, 41.7 x 28.1cm. Minorstaintoimagelowerrightandmargins. $26,500Held in British Museum with the comment “This portrait depicts Rivera’s second wife, the artist Frida Kahlo (1907-54), sitting on a bed wearing stockings and shoes and fastening rows of beads around her neck. An accident whilst travelling on a trolleybus during her adolescence had left Kahlo disabled; she was also unable to bear children. The couple both conducted extra-marital affairs, and divorced in 1939, only to remarry the following year. Kahlo died at the age of forty-seven. The circumstances of her death remain unknown but there is some suggestion that she committed suicide. Primarily a painter, Kahlo made only one print, a self-portrait in which she expressed her pain after a miscarriage in 1932. Rivera made this print in Mexico City a year after he married Kahlo, and it is one of the first prints he made when approached by Carl Zigrosser of the Weyhe Gallery. It shows the influence of Rivera’s time in Eu rope, the soft cur ves of the sitter’s body and the use of large, smooth sur fa-ces resembling the style of Henri Ma tisse, particularly his Fauve works.”

177. Taller De Grafica Popular (Mexican, 1937-2010). MexicanPeople, 1946. Folio of 12 lithographs, two in colour. Accom panied by a contents sheet and a map indicating the in dus tries each of the 10 artists visited and studied, each sig ned in

pencil below image, 28.5 x 35cm (approx. each image); 40.7 x 46.7cm (folio). Minorstainsorcreasestomargins,colour images have slight discolouration tomargins andonehasoldtapetoupperedgenotaffectingimage.Slightscuffingtofolio.

The folio $3,650Folio cover text includes “By artists of the Taller De Grafica Popular, Mexico City. Presented by American Associated Artists, New York.” The TallerdeGráficaPopular (People’s Graphic Workshop) was an artists’ print collective founded in Mexico in 1937 by artists Leopoldo Méndez, Pablo O’Higgins, and Luis Arenal. The collective was primarily concerned with using art to advance revolutionary social causes. MexicanPeople was intended to promote Mexican products for export to the United States. Artists included are Angel Bracho, Francisco Mora, Fernando Castro Pacheco, Raul Anguiano, Alberto Beltran, Pablo O’Higgins, Arturo Garcia Bustos, Leopold Mendez, Isidoro Ocampo, and Alfredo Zalce. Held in Art Institute, Chicago.

175. Diego Rivera (Mexican, 1886-1957). Boy WithChihuahua, 1932. Lithograph, initialled and dated in image lower right, annotated “no. 24”, signed and dated in pencil below image, 42 x 30.3cm. Minor cockling and stains tomargins. $19,500Held in British Museum; The Met, NY, with the comment “Rivera made this print in New York in 1932 as part of a set of five lithographs commissioned by Carl Zigrosser of Weyhe Gallery. All five show details of murals painted by Rivera a few years earlier in Mexico. BoywithChihuahua is a detail from his fresco TheRains, which forms part of the mural cycle in the building occupied by the Ministry of Education in Mexico City. The lithographs were printed by the leading American lithographic printer George C. Miller in New York.” The image shows a boy eating a rolled up tortilla.

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Transcript of International Art - Josef Lebovic Gallery · 2017. 2. 6. · [Cut-throatRazorSellers], c1790s....